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      CommentAuthorSouthall
    • CommentTimeMar 9th 2017
    Godzilla David Arnold

    This is great.
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      CommentAuthorSteven
    • CommentTimeMar 9th 2017
    It is. I've always wished for an Independence Day-like end credits suite, but I suppose that's being greedy given what the score offers.
  1. It's still a mystery to me why Arnold hasn't been Devlin and Emmerich's go to guy after having penned three of the all-time best scores.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
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      CommentAuthorSteven
    • CommentTimeMar 9th 2017
    'Creative differences' I suspect.
  2. NP: Death Walks - Tom Wolfe

    Liking this retro synth score for a low budget horror movie. Not sure how well it would work in the film but it sure is catchy on an album.

    https://tomwolfe.bandcamp.com/album/dea … soundtrack
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeMar 10th 2017
    Thor wrote
    NP: MONSIGNOR (John Williams)

    Stupendous score for a crappy film.


    I've never heard anyone say the film is good in any way and because of that and the fact I love the score I've avoided it.
    thor 2? fuck thor! ~ Thor
  3. NP: The Crash - Guy Moon

    Catchy mix of rhythmic synths with added orchestral elements throughout. And a nice quite and tender theme breaks up the pounding feel of the score. Apparently this movie has divided opinion - from reading reviews and opinions - but I am certainly enjoying Moon's effort.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  4. NP: Защитники (Guardians) - Georgiy Zheryakov

    Frenetic orchestral score for what looks like a 2017 Russian superhero movie. It's a short running time (<30 minutes) and it seems that a lot of the action scoring has been cherry-picked for the soundtrack album.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
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      CommentAuthorDreamTheater
    • CommentTimeMar 10th 2017 edited
    HALO WARS 2 - Gordy Haab, Brian Trifon, Brian Lee White

    As action music it goes through the motions of standard videogame scoring, and on first listen it fails to register. It's all perfectly listenable music, but nothing stands out... And it has no memorable themes. It tries to mimic Kazuma Jinnouchi's sound for Halo 5 Guardians, yet nowhere near as good. And it doesn't hold a candle to Marty O'Donnell's legendary scores for the early Halo games which had awesome themes and were more diverse in sound.

    I expected more from Haab, who is the best John Williams impersonator I have ever heard. This on the other hand is pretty generic and nothing really special. The dude should stick to doing Star Wars.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
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      CommentAuthorThor
    • CommentTimeMar 10th 2017 edited
    Timmer wrote
    Thor wrote
    NP: MONSIGNOR (John Williams)

    Stupendous score for a crappy film.


    I've never heard anyone say the film is good in any way and because of that and the fact I love the score I've avoided it.


    Smart choice. There are a few redeeming elements; if memory serves, Billy Williams' photography captured some lush, warm Italian summer tones. And Chris Reeve was always a pleasure to watch, whatever he starred in. And Williams' music, of course. But I've only seen the film once several years ago, and had no immediate urge to re-watch it. I probably will at some point; I tend to re-watch all of Williams' output with regular intervals, just to keep it freshly in mind, but I doubt my opinion would change much.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeMar 10th 2017 edited
    NP: EVERYBODY'S GONE TO THE RAPTURE (Jessica Curry)

    This is so brilliant, it's ridiculous. I have a hard time picturing a videogame going with this.
    I am extremely serious.
  5. Steven wrote
    'Creative differences' I suspect.


    I suppose they wanted crappy music instead
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
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      CommentAuthorBobdH
    • CommentTimeMar 10th 2017 edited
    Thomas Glorieux wrote
    Steven wrote
    'Creative differences' I suspect.


    I suppose they wanted crappy music instead


    From the rejected score website:

    THE PATRIOT -- David Arnold. Arnold wrote & recorded hand full of original demos with a real, full orchestra (on top of writing a full score). Arnold was hired early on, as one of the producers (Dean Devlin) had wanted to work on a project with him again. Arnold says, in a 2001 interview with Soundtrack! magazine that budgetary problems from going over budget, started to lead to some uneasiness and he was asked if he still wanted to do it and eventually was asked to submit demos first (which had not previously happened in their collaborations). Meanwhile one of the other producers whom had worked with Williams, was telling everybody they could get Williams and the studio put out calls to Williams and Horner. Arnold says he sent them the demo and almost immediately that day, they came back and said it wasn't working out and that they were getting Williams; Arnold speculates there must have been more going on behind the scenes for this to have happened so quickly. He also said the demo he sent, was one of the best things he had ever done, though he didn't feel insulted Williams was the final composer.


    I can imagine this caused a rift between them, a show of a lack of trust, then leading to hiring Wander and Kloser, and them being European and German speaking as well might've led to a better communication with Emmerich, resulting in this partnership.
    Procrastinate now. Don't put it off.
  6. I never realized Arnold got that far in the composition stage for The Patriot. Would kill to hear those demos he recorded with the orchestra.

    It doesn't explain how after three outstanding Arnold scores and a pretty strong Williams one, Emmerich could suddenly do a 180-degree turn and go after Mr. Personification-of-Musical-Blandness for the rest of his career...
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      CommentAuthorThor
    • CommentTimeMar 10th 2017
    Edmund Meinerts wrote
    I never realized Arnold got that far in the composition stage for The Patriot. Would kill to hear those demos he recorded with the orchestra.

    It doesn't explain how after three outstanding Arnold scores and a pretty strong Williams one, Emmerich could suddenly do a 180-degree turn and go after Mr. Personification-of-Musical-Blandness for the rest of his career...


    I wouldn't quite go that far, but I agree that the scores since then (by Kloser and others) have been nowhere near the same level.
    I am extremely serious.
  7. Kloser also did a demo or demos for the film, which also wasn't used. I suspect it's the same reason: they were getting or got Williams.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  8. I'm not sorry we got a Williams score for THE PATRIOT. I really like that score. I am sorry that Emmerich never worked with David Arnold again. Think of all the great scores we could have had by Arnold if that relationship had renewed!

    But none of this explains why Arnold has completely dropped off the map. He's scoring the occasional season of the BBC's SHERLOCK and what else? Nothing? Why is no one hiring this man?

    NP - EXTREMELY LOUD AND INCREDIBLY CLOSE - Desplat

    One of his better scores, I think.
  9. Thor wrote
    NP: EVERYBODY'S GONE TO THE RAPTURE (Jessica Curry)

    This is so brilliant, it's ridiculous. I have a hard time picturing a videogame going with this.


    Right? The game must be fairly unique. That's a very good score.
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      CommentAuthorThor
    • CommentTimeMar 10th 2017 edited
    christopher wrote
    But none of this explains why Arnold has completely dropped off the map. He's scoring the occasional season of the BBC's SHERLOCK and what else? Nothing? Why is no one hiring this man?


    Yeah, we've talked about this sometimes. It's bizarre. No feature film score since PAUL in 2011. I wonder how much of it is self-afflicted (he seems to enjoy festivals and concerts much more than feature film score work these days), and how much is because nobody asks.
    I am extremely serious.
  10. NP: BRIMSTONE - Tom Holkenborg

    This was just released in the U.S. today. I heard Jon Broxton lump this in with LOGAN and some others that he told people not to bother listening to. I think that's a bit unfair. LOGAN was very unpleasant to listen to. This is not at all like that so far (granted, I'm only 10 tracks in). What I hear is a lot of really slow strings, but there's nothing grating here at all. It may not have memorable themes, and it may create a very somber feeling, but this is not at all unpleasant, and has had some moments that struck me as genuinely lovely, like the choir at the end of "Revelation." There are a couple moments in "Exodus" that struck me as well - some swelling strings almost halfway through, and a nice violin solo about 3/4 of the way through leading into some louder strings. I have more than half the album to go yet, but this is far from the worst scores I've heard from this year. Faint praise, I know. I'm just thinking of Jon's criticism.
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      CommentAuthorBobdH
    • CommentTimeMar 10th 2017
    christopher wrote
    NP: BRIMSTONE - Tom Holkenborg

    This was just released in the U.S. today. I heard Jon Broxton lump this in with LOGAN and some others that he told people not to bother listening to. I think that's a bit unfair. LOGAN was very unpleasant to listen to. This is not at all like that so far (granted, I'm only 10 tracks in). What I hear is a lot of really slow strings, but there's nothing grating here at all. It may not have memorable themes, and it may create a very somber feeling, but this is not at all unpleasant, and has had some moments that struck me as genuinely lovely, like the choir at the end of "Revelation." There are a couple moments in "Exodus" that struck me as well - some swelling strings almost halfway through, and a nice violin solo about 3/4 of the way through leading into some louder strings. I have more than half the album to go yet, but this is far from the worst scores I've heard from this year. Faint praise, I know. I'm just thinking of Jon's criticism.


    Completely agree. It also grows on you immensely after you've seen the film. The only thing that's keeping this score down is the completely inadequate album presentation, which is filled with a lot of repetition which the film itself calls for, but is not justified on album to include all of it. If this were released in a 50 minute presentation, it would be getting a lot more attention, since this really is a work that shows Tom is growing as a composer (even if it's mostly an adaptation of a Bach piece, it works incredibly well in the film and is a very good adaptation at that).
    Procrastinate now. Don't put it off.
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      CommentAuthorThor
    • CommentTimeMar 10th 2017 edited
    I also agree. BRIMSTONE and LOGAN are miles apart in terms of musical value. BRIMSTONE is one of the best scores of the year; LOGAN is a mediocre mid-list burner, if that.
    I am extremely serious.
  11. christopher wrote
    Thor wrote
    NP: EVERYBODY'S GONE TO THE RAPTURE (Jessica Curry)

    This is so brilliant, it's ridiculous. I have a hard time picturing a videogame going with this.


    Right? The game must be fairly unique. That's a very good score.


    Have not yet played the game but one day I will and I expect it to be something entirely else than the usual point the gun at the enemy and shoot him kind of game. To be honest there's and less of those kinds of games that interest me these days. And there has been an increase as well of the artistic kind, games that want to tell a rich story, or put you inside a world to explore and discover its many secrets, while keeping the player intrigued in the mystery of it all. From what I've read, I think the game is a combination of all that. And games like that tend to get good scores. Journey for instance, or The Last Guardian or The Dig (which Thor is familiar with).
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
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      CommentAuthorThor
    • CommentTimeMar 10th 2017
    That's good to hear; the kind of envelopping, interactive storytelling that was so popular in the late 80s and 90s (LucasArts, Sierra etc.). That's the kind of game I can play.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeMar 10th 2017
    NP: RETURN OF THE JEDI (John Williams)

    My second-most-favourite score of all time. This is the Arista box version. People say the sound on this is inferior to the later RCA 2CD set (while STAR WARS and EMPIRE are superior), but I don't get that. The sound is sparkling.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeMar 10th 2017
    Thor wrote
    NP: RETURN OF THE JEDI (John Williams)

    My second-most-favourite score of all time. This is the Arista box version. People say the sound on this is inferior to the later RCA 2CD set (while STAR WARS and EMPIRE are superior), but I don't get that. The sound is sparkling.


    I bet this is one of those expansions you welcomed, all that delicious choralness.
    thor 2? fuck thor! ~ Thor
  12. Thor wrote
    NP: RETURN OF THE JEDI (John Williams)

    My second-most-favourite score of all time. This is the Arista box version. People say the sound on this is inferior to the later RCA 2CD set (while STAR WARS and EMPIRE are superior), but I don't get that. The sound is sparkling.


    I always thought it was the other way around?
    Rüm Hart - Klaar Kiming
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      CommentAuthorThor
    • CommentTimeMar 10th 2017 edited
    Timmer wrote
    Thor wrote
    NP: RETURN OF THE JEDI (John Williams)

    My second-most-favourite score of all time. This is the Arista box version. People say the sound on this is inferior to the later RCA 2CD set (while STAR WARS and EMPIRE are superior), but I don't get that. The sound is sparkling.


    I bet this is one of those expansions you welcomed, all that delicious choralness.


    Yup. I like the original album too, but here's one of those rare cases where I think I might prefer the expansion. Not too keen on the subsequent 2CD releases, though.
    I am extremely serious.
  13. Harry Gregson-Williams and Hans Zimmer - Smilla's Sense of Snow

    Just appeared on Spotify a few days ago. Atmospheric and decent. And yeah, Hans did something on this one, just the theme, but still.
    http://www.filmmusic.pl - Polish Film Music Review Website
  14. To my knowledge it's disc 2 of the 1997 RCA release (with the rebel alliance emblem on the discs) that doesn't have a sparkling sound like disc 1 has. Some mastering issue?

    But I still tremendously enjoy that set despite that.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.